At this point it's up to you abilities as a player and the arrangements around Mix one or the other on top of each other until youĤ. And Compress it again with something that gives you a Compress both the direct and emulation sound - using as close to a FairchildĦ70 as you can get.
Them a general 'tone' for the style of mic.ģ. Again this is tricky because I doubtĪmp Emulations pay much attention to the mics they model beyond giving Use whateverĬondenser that resembles a AKG C-12. Hard Cut the low end at 80hz or soĪnd emphasize 110hz - e your ears as a calibrator. Amp Emulations: Hard y a direct box sound mixed with a Fenderīassman through a single 15 Cabinet. Writer Dear Prudence I Want You (She's So Heavy) Get Back Let Me RollĢ. I would attempt the following: Can't Buy Me Love Drive My Car Paperback Learn 7 or 8 of his 'signature songs' parts note for note. Things I would try - after the flat wounds and getting a Hofner or Rickenbacker:ġ.
#Paul mccartney bass how to#
My own feeling about these instruments was that they taught you how to get the best out of them which served well when a finer bass could be afforded, perhaps giving more definition to each note without resorting to roundwounds or a pick, but of course this was down to personal preference and the sound desired for a particular style of playing.
As an example, my son (used to US basses in the main) took part in a film about Joe Meek and had the original Burns Bison used on the Honeycombs hit "Have I the Right" to play, he was surprised at the weight of it and how different it felt and played. One side effect of this was that strong fingers and hard finger pads (I could bend a needle on mine) developed. Vox, Burns etc were what was around and, not meaning to be unkind (or flamed), were quite often a bit crap with poor action, intonation and questionable quality, though I'm sure there were exceptions. Heavy import tax meant that the US stuff tended to be lusted after but expensive and remained the preserve of the well heeled and not that common. I would love To be Denny lane for a day and play the Maybe I'm Amazed solo in front of 10,000 hot groupiesīut I would still rather come up with something original and live in wonder of uniqueness.Ī bit off topic, but the basses commonly available in the UK in the 50s and early 60s were generally domestic or cheapish imports.
Shctick? that is way cooler than trying to copy someone else. which sound more like Carol Kaye or the Beach Boys than anyone else?īut then that raises the age old question in original music, why not just be yourself? and come up with your own One of my fav paul bass lines is silly love songs but it could be the guy from KC & the sunshine bandįor all I know? since it sounds nothing like the bass sound or line in say getting better which has a neat littleĬounterpoint kinda riff behind the F? chord. Since it is more of a song thing than a sound thing with paul. It's not like entwisle or geddy who they play 1 note and you just know.Īlthough I think Paul has an signature approach to bass lines which makes his use of melody unique? What exactly is his bass sound? It's not really signature it would be hard to quantify based on that it is not really unique.
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